Nostalgia may be trendy right now, but few modern horror movies capture the essence of the 1980s classics. They may stubbornly try to imitate the atmosphere, but I can always adjust everything that describes the game, from modern shooting techniques to the actors. For me, things always go wrong, and when too much effort is made (and fails) to recreate the ’80s paranormal or slasher genre, I get put off halfway through the movie.

That’s why I was interested Devil’s HouseDirector Ti West’s superb work of chilling retro realism. Available to stream with an AMC Plus subscription or for free tubi. This indie masterpiece transports me back to a time when horror was all about tension, atmosphere, and a slow build-up to a terrifying climax. It does this by staying true to the age of fear it aims to usher in.

The film follows college student Samantha (Jocelin Donahue), who needs money and takes a babysitting job at a creepy old mansion. When he arrives at the field he soon realizes that he is facing a very different charge than that of a child. When he is alone during the night, he orders pizza and points to an image on the television. Meanwhile, the fear gradually increases and the audience gets used to something scary. The Devil’s House is reminiscent of classic movies like Halloween and When a Stranger Calls, but ten times faster.

From the opening credits, The House of the Devil sets the tone with a ridiculously accurate and detailed retro aesthetic. It’s not just set in the 1980s; It looks like it was made at that time. The grainy film texture, period-appropriate costumes and hair are absolutely perfect. A curated soundtrack has been set, featuring tracks including One Thing Leads To Another by The Fixx and The Break Up Song by The Greg Kihn Band. The film not only feels like it’s wrapped in ’80s tropes, but also feels like it was born from that time.

The film was shot on 16mm film, creating a special nostalgic look and taking the cinematography directly from 80s filmmakers along with a number of other techniques reminiscent of the classics of the period. Everything, right down to the credits, is period-appropriate, and I appreciated the care taken to make sure everything matched, right down to the cups in the pizza restaurant seen early in the film.

Sam realizes something is wrong when he comes across evidence that the family who hired him for a babysitting job is not the same as in the photos. Realizing that he may have been deceived, he tries to call 911, but he has already eaten a piece of the spoiled pizza. She faints when she takes a look at exactly what she’s been hired to “babysit.”

The film’s path is filled with chilling moments (just ask Sam’s best friend Megan). Barbie director Greta Gerwig) has incredibly gruesome practical effects that are disturbing and chilling to the core. The ugly “Mother,” which Sam discovers is tied to his original work, is an example of 80s filmmaking that would make audiences queasy.

Without spoiling the climax, The House of the Devil maintains a gnawing, harrowing sense of dread throughout its duration. He’s not afraid to use themes of isolation, the unknown, and betrayal to keep you on the edge of your seat; I appreciated this the first time I watched it, and I’ve grown to love it more with each rewatch. As horrific as the story is, I firmly believe this film would not have been possible without its commitment to staying true to the era that inspired it.

If you’re looking for a horror movie that doesn’t rely on cheap scares or the over-the-top “sex is bad” trope where a bunch of teenagers are killed off one by one, The House of the Devil is one of the best movies. You can add it to your Halloween viewing list. It brings the golden years of ’80s horror to life in believable, decadent ways that will have you squirming in your seat. I’m still cracking the playful climax and I bet you will too.